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Download PDF of Jules Here JULES HYPERLINKS This document contains internal hyperlinks. Clicking on a numbered superscript will take you to information about the provenance and nature of works cited, and more. Once you have read the extra information, click anywhere on the text of the note itself to return to the page you were reading. WILLIAM DIREEN Jules Legal Deposit: January, 2016 ISBN 978-0-473-34848-9 Download address: http://alpha.books.online.fr/Jules WILLIAM DIREEN In digital format FICTION Wormwood. Paper edition SPORT 18, 1997 Utopia Rag. Paper edition Nusquama Alpha Books, 2002 Onaevia, fable. Paper edition Alpha Books, 2002 Jules. Paper edition Alpha Books, 2003 Coma. 3 Stories in the First Person. Paper. Titus Books 2005 Nusquama. (German tr. A. Loeffler). Paper Titus Books, 2005. Brakeman—End of the Present. Paper:Titus Books, 2006 Enclosures. Paper edition Titus Books, 2010 Hyperbaton. Paper edition brief48, Writers Group, 2013 L. in A Foreign Country, New Zealand Speculative Fiction, edited by Anna Caro and Juliet Buchanan. Random Static, Wellington, 2010. Stadium. Novella. Digital format, 2016. OTHER Versions Translations. Poetry. Paper edition Kilmog 2014 Tourtagebuch. Tour Diary (tr. A. Loeffler), 2012 DOWNLOADS To read the download of any of the above titles type http://alpha.books.online.fr/[first word of title above] To download all titles as PDF in one bundle click here. JULES Tomb sculpture of Philippe Pot de Citeaux, attributed to Pierre Antoine le Moiturier (Avignon, c.1425–c.1500). WILLIAM DIREEN This page has been intentionally left blank JULES You have come in out of the shadow. You shine with your own light. You bring your own dark. W.H.Oliver1 WILLIAM DIREEN This page has been intentionally left blank JULES Jules opens his window. Sounds erratic yet predictable find him — the wheezing of distant boulevard traffic, the whine of a poorly tuned scooter, the thumping of deliveries to nearby shops. Five floors below, his baker, baker for all tastes and occasions, screws up his nose at the night traces on the pavement. He turns a key that raises his riot blind. Other shopkeepers are already rinsing away the detritus of the lawless hours — dance club flyers, cigarette packets, improvised filters. With each swish, echoes of the night go too, the cries of wrangling street-kids, the rush of fleeting taxis, the sentry-calls of night workers, the irregular steps of stoned club-dancers, and those desperate, repeated taps of half-remembered door codes. Unlike Jules, the local mer- chants rarely hear these sounds. For them, night is something you sleep through. It is something to be insured against. 9 WILLIAM DIREEN Love makes you heedless. When he first came to Paris, he used to amble along rue de Rennes and boulevard Montpar- nasse at four in the morning. Sometimes, as the black-eyed sky lightened and miraculously healed, Mélita would come to his apartment and they would lie together, toes protruding out the end of his sofa-bed. Born in Algeria, she had come to France with her family after it gained its independence.2 She used to sing with a low-paid but sympathetic three-piece band in an ill-lit cavern. She chose material made popular by committed singers of the sixties and seventies — Léo Ferré, Georges Brassens, Juliette Greco and Barbara. Jules referred to these artists or their lyrics in the course of his lectures, which made him popular with some students. Finding a per- son in a painting who resembled Mélita, he took her to see it, but she was disappointed. She had been expecting a Mona Lisa or a clean-lined Venus, not a thumb-sized unfortunate in a Dutch genre painting.3 ‘The model was Jannetge van der Burgh, the painter’s wife,’ Jules announced proudly. ‘The more fool her!’ she retorted, and found a portrait for him — the salacious figure of Zeus peeping at a lactating Antiope in the painting by Hendrick Goltzius.4 It is not unusual to be jealous in Paris, but it is a crime to reveal it. He was every cliché of the suffering lover. Jules was 10 JULES ejected by the musician’s exit and would never return. They would never again be ‘kidlings blithe and merry’.5 On his way home he heard a plainchant, a lament barely distinguishable from the whisper and purl of night. Where is our lord? Hidden in the Lady’s mirror. In all these years he has learned little and ventured less. He has never again wandered along the boulevards in the early morning hours, among the traces erased by shopkeep- ers at sun-up. In his room he creates his own form of de- tritus — an ashtray littered with half-burned pipe tobacco, a neglected coffee-lined mug, the crumpled sofa-bed he lay on last night, blinking. There are the things he treasures too — his books, a rare engraving. There is his Flamma Eterna, a Pompeian oil lamp, souvenir of a trip to the continent with his father. There is a letter he wrote to Cézanne when he was a boy. It lies in a creased-leather portfolio along with certifi- cates and some documents relating to his parent’s house in Somerset, which he still owns. He refills the oil lamp. In the night, in the hours of silence, the small flame swells, illuminating all. A naked bronze youth 11 WILLIAM DIREEN is poised on the cap, hips squared, shoulders turned, looking backwards. His right hand is spread, his left is clenched. As Jules tops up the oil now, figurine in hand, it guts. He lights it again, hand steady. He has passed the point of trembling. A doctor offered him pills to relax. Always new pills, new guarantees. He tried some sedatives, but instead of fixing the problem of being half-awake all night they made him half- asleep all day. The same doctor advised him to change his habits, experiment a little by joining a gymnasium or a swim- ming club. He changed doctors. The next one prescribed different sleeping pills, and discovered that his prostate was enlarged. Afraid that they might try to remove it, and recall- ing that Andy Warhol entered hospital for something rou- tine and came out in a box, Jules abandoned all medicines except cocktails.6 He would carry his swollen glands about with him. He would brave being unslept, lingering, hunger- ing for what he knew well. Tumescent insomnia would pass away, or he would. An explosion, like that of a tyre blowing out, causes a flock of sparrows in the plane trees below to take to the air. They dive up and vanish over the lift towers opposite. He clips his brittle toenails. When will they leave off their insidious lengthening? His beard is guilty of this too. He shaves, wiping out forests of masculinity in a single sweep, 12 JULES not without a thought for Polyphemus, the one-eyed mon- ster who mowed his beard with a sickle, sick with love for the nymph Galatea.7 He draws a suit from a built-in ward- robe. A button is missing from the change pocket but it still holds its form. He lowers a loose Carnaby pullover over the fly and fills the coffee machine thinking, ‘Anti-calque. -Bat teries for the laser.’ The percolator wakes with a stertorous wheeze and launches a series of sinister gutturals. A mother bawls at her child to get out of bed. A siren on the boulevard blares, strengthens, lowers a quarter tone and fades. He goes below for bread sharing two floors with the altar boy from Courbet’s Burial at Ornans.8 ‘Morning, sir.’ ‘You made it.’ ‘I came to say goodbye, sir.’ ‘Where are you off to?’ ‘You hear that siren? Art cops! They’re aiming to wipe us out.’ ‘You’ll be back?’ ‘Not till they’ve found other fish to fry.’ ‘We’ve known each other a long time. We were the same age then. The incense sent you away from the scene, into my imagination.’ ‘Not your world, sir. I drift in my world, not yours. It’s you who are the invader.’ 13 WILLIAM DIREEN ‘Isn’t it the same for us all, the gallery of the senses?’ ‘I don’t live in a gallery. You do, your sort! I belong in the real world. That’s where I come from! You know what I think? I think you should stick to your own kind, mister!’ The boy vanishes back to his painting as Jules makes room for a customs inspector entering at the third floor. ‘Bonjour, professor.’ The son of the customs officer attended an open seminar on ‘Illusion and Art’ conducted by Jules at Port Royal last year. He calls him ‘professor’ now whenever they meet. ‘Over the worst of it.’ ‘A real summer, that’s what we need!’ The lift descends the final floors in silence. ‘Did you know the gas is going to be cut off?’ ‘I saw the notice.’ Although Jules’ sleeves are rolled up like someone used to hard physical work, he can do little to dispel the image the customs officer has of him as an eccentric Englishman whom intellectual activity has rendered inattentive. They cross the courtyard, out of step, beneath a three-metre sculpture of Egyptian water bearers. Jules grips the iron shank in his right fist and heaves the great three-framed front portal towards him with all his murder-latent strength. ‘Doesn’t get any lighter.’ 14 JULES ‘That’s very good of you, professor.’ They both know its weight. The former owner of the building could not open it a crack.
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